I am very grateful for your comment, thank you; I am glad you enjoyed it and it helped spur you. You are quite right that I am not a string player, so you really gave some insight and remind me to be a little more careful -- you get in such a rush that your ideas really take over. While I doubt the piece will ever be truly taken up, if ever it does, my plan really always is to follow the advice of the player and make what adjustments I can. I had the opportunity to do just this in a sight-reading, and hearing what the players had to say was really rather exciting -- I enjoyed the challenge. With that said, I could still use a bit more caution ahead of time, regardless of instrument. Thanks again, I'll come back to this one for sure.

As an experiment, I wanted to compose a piece for soprano saxophone, as my friend plays the instrument.
It begins in a drifting, dream-like state with the strings providing a variety of colors. From the conclusion of the dream-state, an idea in the saxophone is presented. In a story type manner, this faster theme is progressed until it devolves back into the dense strings again with the initial iota being reiterated. This becomes an intense outburst at full volume until it ends quietly. The music begins again, replicating the three-movements of a concerto on a miniature scale, reintroducing previous themes. The music ends with a repetition of the intense contrary theme, re-notated from before.
Let me know what you think!
Also, I finally re-organized all my music, so I have proper opus numbers now.

You make a good point; this was actually something with which I was battling while I was composing it, but I liked the challenge. I am already making some plans for another big project like this, but it'll probably take some time (I have been a little exhausted with writing and travelling). And, yes -- definitely the length is a bit of a factor in the lack of feedback (I don't blame it if people just sort of skim through, honestly -- this is why I try my best to make the recording as enjoyable as possible), but I really appreciate that you took the time to stick with it and comment. Thanks! :)

I present another sonata, this time for oboe (English horn) and piano. While I have included a program which outlines my thought-process, I find it important to include that this work is one that is important in defining my individual style and voice. It is energetic and narrative, and it progresses in such a manner which it highlights the leader of the duo -- the oboe. Enjoy!

Staying in Prague (which is in the heart of Europe), I used the Romani people and their culture as inspiration for this very short piece, that is in a dance-like character. I was approached by a Gypsy soothsayer whilst here, and this encounter inspired me to write music. The material is short and concise, and it borrows influence from Central European nomads as such. I'd love to hear your input and enjoy!

This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!